Diminished Chords Guitar Lesson

Chapter 1: (00:21) Lesson Introduction Brad plays some very common diminished chord shapes. He demonstrates how these shapes can be shifted up and down the fretboard. In this lesson, Brad expands on the music theory pertaining to diminished chords taught in the previous lesson.
Chapter 2: (10:05) The Diminished Chord One common diminished chord pattern is played on strings 4, 3, 2, and 1. This is the first chord shape that Brad demonstrates in this scene. Remember that the construction of diminished seventh chords is symmetrical. Consequently, any note within this chord shape can be considered the root. Eo7, Go7, Bbo7, and Dbo7 are all appropriate names for this chord. So which chord name is used when writing out a progression? A diminished chord is named based on its context in a progression. For example, if this chord functions as dominant to an F major chord a half step up, it is labeled Eo7. If Ab major follows this diminished chord, it is labeled Go7.

Fingering for the First Diminished Shape

There are two possible ways to finger this shape. Brad uses the first fingering listed below:

Fingering 1

D string: 1st finger
G string: 3rd finger
B string: 2nd finger
E string: 4th finger

Fingering 2 (This fingering features a barre performed by the first finger.)

D string: 1st finger
G string: 2nd finger
B string: 1st finger
E string: 3rd finger

Fingering for the Second Diminished Shape

Note: Open the document entitled "Diminished Chords" listed under the "Supplemental Content tab.

Fingering 1 (This is the only practical fingering for this particular diminished chord shape.)

A string: 2nd finger
D string: 3rd finger
G string: 1st finger
B string: 4th finger

The third string note within this chord shape overlaps with the third string note of the first diminished chord shape. This is a key factor that will come into play once you begin working on the diminished chord exercise presented later in the lesson. Once again, any note within this chord can be considered the root note. Take a look at the fretboard diagram that Brad has provided in Supplemental Content. Notice how each chord shape presented in this lesson repeats itself every three frets.

Diminished Chord Exercise

A. Watch and Learn

Before you begin to tackle this exercise, watch carefully several times as Brad provides a demonstration. He plays through the exercise at roughly 07:30 in the lesson video. Notice how he plays through the exercise in a marcatto style. "Marcatto" literally means "marked." Each strike of the chord should be slightly separated from the next. The chords should not ring directly into one another.

B. Always Play Musically!

Regardless of whether you are playing a piece of music or a technical exercise such as this, always play as musically as possible. The way in which you practice technique transfers directly to your performance of a piece.

C. Practice Time

1. After you have watched Brad's demonstration of the exercise, begin practicing the exercise at a very slow tempo on your own. Ascend the pattern of diminished chords up to 12th position. Then, descend the pattern back down to the original chord in the exercise.

2. This exercise can either be played with a pick or with the fingers. Practice it both ways. You will eventually need both skills.

3. At first, play the exercise in a marcatto style like Brad. Let up on each chord before you play the next. Also, for additional practice, play this exercise as legato as possible.

4. Playing this exercise will allow you to memorize and locate any diminished chord on the fretboard without any hesitation.

Diminished Chords in Progressions

Remember the music theory principles concerning the function of diminished chords from the previous lesson. Brad demonstrates a relatively common chord progression in a major key to demonstrate how passing diminished chords function within a progression. These diminished chords are dominant in function.

This progression begins with A major. An A#o7 seventh chord is used as a passing chord between A major and a B minor chord. The passing diminished chord is most frequently inserted between the IV and V chords. However, it can be inserted between any two diatonic chords whose root notes are a whole step apart.

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